Hadley/Hampson/Ramey Concert Page 1 of 3 Opera Assn

Total Page：16

File Type：pdf, Size：1020Kb

San Francisco War Memorial 1994 Hadley/Hampson/Ramey Concert Page 1 of 3 Opera Assn. Opera House Part of the "Lexus Summer Concerts" series Hadley/Hampson/Ramey Concert Conductor CAST Donald Runnicles Jerry Hadley Thomas Hampson Samuel Ramey *Role debut †U.S. opera debut PLACE AND TIME: Wednesday, June 1 1994, at 8:00 PM San Francisco War Memorial 1994 Hadley/Hampson/Ramey Concert Page 2 of 3 Opera Assn. Opera House Sponsors: Notes: Jerry Hadley, tenor Thomas Hampson, baritone Samuel Ramey, bass with the San Francisco Opera Orchestra Donald Runnicles, conductor PROGRAM Rossini, Il Barbiere di Siviglia -- Overture Rossini, Il Barniere di Siviglia -- Largo al factotum Hampson Rossini, Il Barbiere di Siviglia -- La calunnia Ramey Bizet, Les Pêcheurs de Perles -- Au fond du temple saint Hadley Hampson Verdi, Attila -- Uldino…Uldin' !…Mentre gonfiarsi l'anima Ramey Donizetti, L'Elisir d'Amore -- Una furtiva lagrima Hadley Verdi, Attila -- Tardo per gli anni…Vanitosi! Hampson Ramey Gounod, Faust -- Que voulez-vous, messieurs? Hadley Hampson Ramey INTERMISSION Strauss, Die Fledermaus -- Komm mit mir zum Souper Hadley Hampson Lehár, Das Land des Lächelns -- Dein ist mein ganzes Herz Hadley Wood, The Roses of Picardy Hampson Stravinsky, The Rake's Progress -- My Tale Shall Be Told Hadley Ramey Bernstein, Candide -- Overture Kern, Show Boat -- Old Man River Ramey Romberg, The Student Prince -- Golden Days Hadley Hampson Wright & Forrest (after Borodin), Kismet -- And This Is My Beloved Hadley Hampson Ramey ------------------------------------ San Francisco War Memorial 1994 Hadley/Hampson/Ramey Concert Page 3 of 3 Opera Assn. Opera House Other events in the "Lexus Summer Concerts" series: Jerry Hadley in Concert San Francisco Opera Orchestra Donald Runnicles, conductor Concord Pavilion, Concord, CA June 4, 1994, 8 p.m. Ruth Ann Swenson in Concert San Francisco Opera Orchestra Donald Runnicles, conductor Sigmund Stern Grove, San Francisco June 12, 1994, 2 p.m. San Francisco Opera Center Singers in Concert San Francisco Opera Chorus and Orchestra Ian Robertson, conductor Luther Burbank Center for the Arts, Santa Rosa, CA July 2, 1994, 8 p.m. San Francisco Opera Center Singers in Concert American Independence Week Celebration with Fireworks Finale San Francisco Opera Chorus and Orchestra Ian Robertson, conductor Concord Pavilion, Concord, CA July 3, 1994, 8 p.m. San Francisco Opera Center Singers in Concert San Francisco Opera Chorus and Orchestra Ian Robertson, conductor Frost Amphitheater, Stanford, CA July 9, 1994, 6:30 p.m..

Copy Link

Recommended publications

San Francisco Opera Center and Merola Opera Program Announce 2020 Schwabacher Recital Series
SAN FRANCISCO OPERA CENTER AND MEROLA OPERA PROGRAM ANNOUNCE 2020 SCHWABACHER RECITAL SERIES January 29 Kicks Off First of Four Recitals Highlighting Emerging Artists and Unique Musical Programs Tickets available at sfopera.com/srs and (415) 864-3330 SAN FRANCISCO, CA (January 6, 2019) — Now in its 37th year, the Schwabacher Recital Series returns on Wednesday, January 29, with performances at San Francisco’s Dianne and Tad Taube Atrium Theater that feature emerging artists from around the globe. Presented by San Francisco Opera Center and Merola Opera Program, the annual Schwabacher Series consists of four Wednesday evening recitals, the last of which concludes on April 22. The first-ever Schwabacher series was presented in December 1983, kicking off a decades-long San Francisco tradition of presenting rising international talent in the intimacy of a recital setting. The 2020 series will blend classics like Hector Berlioz’s Les Nuits d’Été with rarely performed 20th- and 21st-century works like Olivier Messiaen’s Harawi. JANUARY 29: ALICE CHUNG, LAUREANO QUANT AND NICHOLAS ROEHLER (From left to right: Alice Chung, Laureano Quant and Nicholas Roehler) The series opens on January 29 with a set of performers recently seen as part of the Merola Opera Program: mezzo-soprano Alice Chung, baritone Laureano Quant and pianist Nicholas Roehler. Twice named as a Merola artist—once in 2017 and again in 2019—Chung returns to the 1 Bay Area for this recital, having been hailed as a “force of nature” by San Francisco Classical Voice (SFCV). She will tackle a range of works, from Colombian composer Luis Carlos Figueroa’s soothing lullaby “Berceuse” to cabaret-inspired works like William Bolcom’s “Over the Piano.” Quant, a 2019 Merola participant, joins Chung to perform Bolcom’s music, as well as select songs from Berlioz’s Les Nuits d’Été and Francesco Santoliquido’s I Canti della Sera.
[Show full text]
TURANDOT Cast Biographies
TURANDOT Cast Biographies Soprano Martina Serafin (Turandot) made her San Francisco Opera debut as the Marshallin in Der Rosenkavalier in 2007. Born in Vienna, she studied at the Vienna Conservatory and between 1995 and 2000 she was a member of the ensemble at Graz Opera. Guest appearances soon led her to the world´s premier opera stages, including at the Vienna State Opera where she has been a regular performer since 2005. Serafin´s repertoire includes the role of Lisa in Pique Dame, Sieglinde in Die Walküre, Elisabeth in Tannhäuser, the title role of Manon Lescaut, Lady Macbeth in Macbeth, Maddalena in Andrea Chénier, and Donna Elvira in Don Giovanni. Upcoming engagements include Elsa von Brabant in Lohengrin at the Opéra National de Paris and Abigaille in Nabucco at Milan’s Teatro alla Scala. Dramatic soprano Nina Stemme (Turandot) made her San Francisco Opera debut in 2004 as Senta in Der Fliegende Holländer, and has since returned to the Company in acclaimed performances as Brünnhilde in 2010’s Die Walküre and in 2011’s Ring cycle. Since her 1989 professional debut as Cherubino in Cortona, Italy, Stemme’s repertoire has included Rosalinde in Die Fledermaus, Mimi in La Bohème, Cio-Cio-San in Madama Butterfly, the title role of Manon Lescaut, Tatiana in Eugene Onegin, the title role of Suor Angelica, Euridice in Orfeo ed Euridice, Katerina in Lady Macbeth of Mtsensk, the Countess in Le Nozze di Figaro, Marguerite in Faust, Agathe in Der Freischütz, Marie in Wozzeck, the title role of Jenůfa, Eva in Die Meistersinger von Nürnberg, Elsa in Lohengrin, Amelia in Un Ballo in Machera, Leonora in La Forza del Destino, and the title role of Aida.
[Show full text]
Un Ballo in Maschera
San Francisco Opera Association War Memorial Opera House 2014-2015 Un Ballo in Maschera A Masked Ball (In Italian) Opera in three acts by Giuseppe Verdi Libretto by Antonio Somma Based on a libretto by Eugene Scribe for Daniel Auber's opera Gustave III, ou Le Bal masque Cast Conductor Nicola Luisotti Count Horn (Sam) Christian Van Horn Count Ribbing (Tom) Scott Conner * Director Jose Maria Condemi Oscar Heidi Stober Costume Designer Gustavus III, King of Sweden (Riccardo) Ramón Vargas John Conklin Count Anckarström (Renato) Thomas Hampson Lighting Designer Brian Mulligan 10/7, 22 Gary Marder Chief Magistrate A.J. Glueckert † Chorus Director Madame Arvidson (Ulrica) Dolora Zajick Ian Robertson Christian (Silvano) Efraín Solís † Choreographer Amelia's Servant Christopher Jackson Lawrence Pech Amelia Anckarström Julianna Di Giacomo * Assistant Conductors Giuseppe Finzi Vito Lombardi * San Francisco Opera debut † Current Adler Fellow Musical Preparation Bryndon Hassman Tamara Sanikidze Place and Time: 1792 in Stockholm, Sweden John Churchwell Jonathan Khuner Fabrizio Corona Prompter Dennis Doubin Supertitles Philip Kuttner Assistant Stage Directors E. Reed Fisher Morgan Robinson Stage Manager Rachel Henneberry Costume Supervisor Jai Alltizer Wig and Makeup Designer Jeanna Parham Saturday, Oct 04 2014, 7:30 PM ACT I Tuesday, Oct 07 2014, 7:30 PM Scene 1: Levee in the king's bedroom Friday, Oct 10 2014, 7:30 PM Scene 2: Madame Arvidson's house on the waterfront Monday, Oct 13 2014, 7:30 PM INTERMISSION Thursday, Oct 16 2014, 7:30 PM ACT II Sunday, Oct 19 2014, 7:30 PM A lonely field Wednesday, Oct 22 2014, 7:30 PM INTERMISSION ACT III Scene 1: Count Anckarström's study Scene 2: The king's box at the opera Scene 3: Inside the Stockhold opera house Sponsors This production is made possible, in part, by the Bernard Osher Endowment Fund and the Thomas Tilton Production Fund.
[Show full text]
CHIEF ADVANCEMENT OFFICER the ATLANTA OPERA Atlanta, Georgia the Atlanta Opera
CHIEF ADVANCEMENT OFFICER THE ATLANTA OPERA Atlanta, Georgia The Atlanta Opera The Aspen Leadership Group is proud to partner with The Atlanta Opera in the search for a Chief Advancement Officer. The Chief Advancement Officer (CAO) will be responsible for all revenue generated for The Atlanta Opera; earned and contributed. The CAO will be directly responsible for successfully creating, leading, and implementing an integrated resource development strategy and developing new relationships, while maintaining existing relationships to build the organization's visibility, impact, and financial resources. This individual will be responsible for raising private sector funds to support The Atlanta Opera’s initiatives and leading the development and implementation of organization-wide strategies to increase its fundraising capacity. The CAO will support the General & Artistic Director and the Board of Directors in cultivating and soliciting major gifts and grants from individuals, corporations, foundations, government institutions, and others. The CAO will lead a team of professionals responsible for fundraising, volunteer cultivation, corporate philanthropic support, events, communications, public relations, marketing, and social media functions for the organization. The CAO will also provide leadership and support for its Comprehensive Campaign. The Chief Advancement Officer is a member of the Senior Management Team and works together with the General & Artistic Director, Managing Director, the Directors of Finance, Marketing, Production, and Artistic Departments to provide strategic leadership and operational management of The Atlanta Opera as a whole. REPORTING RELATIONSHIPS The CAO will report to the General & Artistic Director, Tomer Zvulun, and the Managing Director, Micah Fortson, and will serve as a member of the senior management team.
[Show full text]
Music with Heart.Pdf
Wonderful Life 2018 insert.qxp_IAWL 2018 11/5/18 8:07 PM Page 1 B Y E DWARD S ECKERSON usic M with Heart American opera is alive and well in the imagination of Jake Heggie LMOND A AREN K 40 SAN FRANCISCO OPERA Wonderful Life 2018 insert.qxp_IAWL 2018 11/5/18 8:07 PM Page 2 n the multifaceted world of music theater, opera has true only to himself and that his unapologetic fondness for and always occupied the higher ground. It’s almost as if love of the American stage at its most lyric would dictate how he the very word has served to elevate the form and would write, in the only way he knew how: tonally, gratefully, gen- willfully set it apart from that branch of the genre where characters erously, from the heart. are wont to speak as well as sing: the musical. But where does Dissenting voices have accused him of not pushing the enve- thatI leave Bizet’s Carmen or Mozart’s Magic Flute? And why is it lope, of rejoicing in the past and not the future, of veering too so hard to accept that music theater comes in a great many forms close to Broadway (as if that were a bad thing) and courting popu- and styles and that through-sung or not, there are stories to be lar appeal. But where Bernstein, it could be argued, spent too told in words and music and more than one way to tell them? Will much precious time quietly seeking the approval of his cutting- there ever be an end to the tedious debate as to whether Stephen edge contemporaries (with even a work like A Quiet Place betray- Sondheim’s Sweeney Todd or Leonard Bernstein’s Candide are ing a certain determination to toughen up his act), Heggie has musicals or operas? Both scores are inherently “operatic” for written only the music he wanted—needed—to write.
[Show full text]
SF Opera Guild Virtual Event April 28.Pdf
SAN FRANCISCO OPERA GUILD PRESENTS “LIFE. CHANGING. AN EVENING WITH FREDERICA VON STADE & JAKE HEGGIE,” APRIL 28 Frederica von Stade; Jake Heggie (photo: Karen Almond); Gasia Mikaelian SAN FRANCISCO, CA (April 21, 2021) — San Francisco Opera Guild will present a complimentary virtual livestream event Life. Changing. An Evening with Frederica von Stade & Jake Heggie on Wednesday, April 28 at 6 pm Pacific. Mezzo-soprano Frederica von Stade (“Flicka”), American composer Jake Heggie and San Francisco Opera Guild students, alumni and teachers will share inspiring stories and uplifting songs, while celebrating music’s power to change lives. The event includes an intimate Q&A that will give attendees the chance to ask Flicka and Jake questions. KTVU Mornings on 2 news anchor and longtime opera enthusiast Gasia Mikaelian will serve as emcee. Life. Changing. is open to the public; complimentary advance registration required: give.sfoperaguild.com/LifeChanging. 1 Frederica von Stade said: “I love being with my pal, the wonderful Jake Heggie, to celebrate the great efforts of San Francisco Opera Guild in reaching out to the young people of the Bay Area. It means so much to me because I know firsthand of these efforts and have seen the amazing results. I applaud the Guild’s Director of Education Caroline Altman and her work with the Opera Scouts and the amazing team at the Guild. Music changed my life, and I’m excited to celebrate how it changes the lives of our precious young people.” Jake Heggie said: “I'm delighted to join with my great friend Frederica von Stade to spotlight the important, ongoing work in music education made possible by San Francisco Opera Guild.
[Show full text]
MEROLA OPERA PROGRAM's 62Nd SEASON
TWENTY-NINE YOUNG ARTISTS FROM SIX COUNTRIES AND ACROSS THE U.S. PRESENT MEROLA OPERA PROGRAM’S 62nd SEASON 2019 SUMMER FESTIVAL INCLUDES WORLD PREMIERE OF “IF I WERE YOU” BY JAKE HEGGIE/GENE SCHEER, PLUS THE SCHWBACHER SUMMER CONCERT AND MEROLA GRAND FINALE July 11 – August 17, 2019 Performances in San Francisco SAN FRANCISCO, CA (28 February 2019) – San Francisco’s acclaimed Merola Opera Program, one of the most prestigious and selective opera training programs in the world, launches its 62nd season offering audiences a look at the opera stars of tomorrow. The 2019 Merola Summer Festival announces this year’s 29 Merola artists, selected from more than 800 international applicants from as far away as Brazil, South Korea, New Zealand, and Colombia, as well as across the U.S. Along with the announced world premiere of If I Were You (August 1-6) by Jake Heggie and Gene Scheer, the singers will perform in the Schwabacher Summer Concert (July 11 & 13) and Merola Grand Finale (August 17). The 2019 Merola Summer Festival includes performances in San Francisco at various locations. Individual event tickets and information available at www.merola.org or 415-864-3330. Schwabacher Summer Concert – July 11 & 13 Star-crossed lovers, brothers separated at birth, a deal with the devil, a comic marriage, and a jaded courtesan longing for true love. Some of the most exciting moments in opera come to life as Merola’s young artists perform staged scenes from Lucia di Lammermoor, Il trovatore, Faust, Die schweigsame Frau, and La rondine in the Schwabacher Summer Concert.
[Show full text]
Wagner's Die Meistersinger Von Nürnberg August 7–8 Donizetti's Roberto Devereux August 14
FREE OPERA STREAMS IN AUGUST: Wagner’s Die Meistersinger von Nürnberg August 7–8 Donizetti’s Roberto Devereux August 14–15 SAN FRANCISCO, CA (July 19, 2021) — In anticipation of San Francisco Opera’s return to the War Memorial Opera House stage for the opening of its 99th season, beginning with Puccini’s Tosca on August 21, the Company has added two weekly, free opera streams for the month of August: Richard Wagner’s Die Meistersinger von Nürnberg (August 7–8) and Gaetano Donizetti’s Roberto Devereux (August 14–15). Part of the Company’s Opera is ON initiative, free opera streams are viewable on demand with registration at sfopera.com, beginning at 10 am (PT) on the first streaming date through 11:59 pm the following day. Current San Francisco Opera subscribers and members (donors of $75 and up) retain access to opera titles after their window of public access through August 20. This fall, San Francisco Opera will present a new live streaming option for select performances of Music Director Eun Sun Kim’s inaugural season. Offered for the first time in Company history, livestreams of San Francisco Opera’s new productions of Beethoven’s Fidelio on October 14, 17 and 20 and Così fan tutte on November 21, 23 and 27 will enable audiences from anywhere in the world to experience these live performances. Virtual tickets will be available for $25 this fall; for more information, visit sfopera.com/online. 1 DIE MEISTERSINGER VON NÜRNBERG AUGUST 7–8 Scenes from Die Meistersinger von Nürnberg (2015). Photos: Cory Weaver/San Francisco Opera Conductor Sir Mark Elder makes his San Francisco Opera debut in Sir David McVicar’s “enthralling” (San Francisco Chronicle) production of Richard Wagner’s 1868 opera, Die Meistersinger von Nürnberg.
[Show full text]
La Bohème Cast 2020 Biography
La Bohème Cast 2020 Biography (Vallo della Lucania, Italy) Italian Soprano Maria Agresta began her vocal studies at the Salerno Conservatory as a mezzo-soprano, later switching to soprano and studying with Raina Kabaivanska. After winning several international competitions she made her professional operatic debut in 2007. Engagements include Mimì and Micaëla (Carmen) for the Metropolitan Opera, New York, Suor Angelica for Liceu, Barcelona, Marguerite (Faust) for Salzburg Festival, Leonora (Il trovatore), Liù (Turandot), Donna Elvira (Don Giovanni) and Leonora (Oberto) for La Scala, Milan, Norma for Théâtre des Champs- Élysées and in Madrid, Turin and Tel Aviv, Mimì for Arena di Verona, Paris Opéra, Bavarian State Opera, Teatro Regio, Teatro di San Carlo, Naples, and Torre del Lago Festival, Elvira (I puritani) for Paris Opéra, Violetta (La traviata) for Berlin State Opera and Bavarian State Opera, Elena (I vespri siciliani) in Turin, Leonora (Il trovatore) for Palau de les Arts Reina Sofía, Valencia, Amelia (Simon Boccanegra) for Rome Opera, La Fenice, Venice, Dresden Semperoper and Berlin State Opera with Daniel Barenboim, Amalia (I masnadieri) for La Fenice and Julia (La Vestale) for Dresden Semperoper. Agresta performs widely in concert with such conductors as Barenboim, Nicola Luisotti, Michele Mariotti, Zubin Mehta, Carlo Montanaro, Riccardo Muti, Noseda and Christian Thielemann. Source: Royal Opera House (Brașov, Romania) Aurelia Florian was born in Romania where she has completed her musical studies (singing and piano), she studied at the Music faculty of the university of Transylvania in Brasov and specialized herself in belcanto singing in master classes with the Romanian soprano Mariana Nicolesco. At the Romanian Atheneum Bucharest (with the George Enescu Philharmonic Orchestra) she was highly acclaimed for singing the soprano part in Mahler’s IV symphony (under M° David Gimenez Carreras), and in 2009 she had a big success with the contemporary opera “Celan” written and conducted by Peter Ruzicka.
[Show full text]
LEONARD BERNSTEIN Browse Through the Complete Unitel Catalogue of More Than 2,000 Titles At
LEONARD BERNSTEIN Browse through the complete Unitel catalogue of more than 2,000 titles at www.unitel.de Date: March 2018 FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CONTENT CONCERTS 3 CYCLES 10 DOCUMENTARIES 12 OPERAS 18 TRIBUTES 18 CONCERTS BEETHOVEN: CHORAL FANTASY, OP. 80 UNITEL Leonard Bernstein/Homero Francesch (piano)/ © Jeunesse-Chor/Wiener Philharmoniker A05500477 | Length: 22 Min. Recording date: 1985 Format: 4:3 | Available file size: 1920x1080 BEETHOVEN: MUSIC FROM “DIE GESCHÖPFE DES PROMETHEUS” Leonard Bernstein/Wiener Philharmoniker BEETHOVEN: CORIOLAN OVERTURE, OP. 62 Leonard Bernstein/Wiener Philharmoniker A05500656 | Length: 25 Min. A05500666 | Length: 12 Min. Recording date: 1978 Recording date: 1981 Format: 4:3 | Available file size: 1920x1080 Format: 4:3 | Available file size: Upon request BEETHOVEN: OVERTURE LEONORE III BEETHOVEN: EGMONT OVERTURE, OP.
[Show full text]
ARSC Journal
BROADWAY MUSICALS: RECENT PRESERVATIONS OF MUSICALS ON THE CONCERT STAGE AND IN THE STUDIO By James Fisher In 1985, RCA record producer Thomas Z. Shepard assembled an extraordinary cast of Broadway luminaries for two special performances of Stephen Sondheim's 1971 musical, Follies, which previously was represented in recordings by only an original cast album which eliminated, or significantly abbreviated, much of the score. Shepard's recording (RCA Red Seal, RCD2-7128) features virtually the entire score of the show, with snatches of dialogue, as recorded in concert before two enthusiastic audiences at Lincoln Center. In 1988, conductor John McGlinn's restored, complete (including a lengthy appendix of songs added to later versions of the show) studio recording (EMI, CDS 7 49108 2) of Jerome Kern's and Oscar Hammerstein's classic 1927 Broadway musical play, Show Boat, was released to widespread critical acclaim. The much recorded Show Boat had never before been captured in its entirety, and previous versions featured so many interpolations, omissions, or "updated" orchestrations that the simple beauty of Kern's score was often obscured. The success of these two otherwise unrelated recordings contributed to a revival of a nearly lost art-the studio recording of Broadway musicals with a cast and orchestra assembled not for any particular production, but for the sole purpose of preserving the score. The unexpected and extraordinary commercial success of the Follies and Show Boat recordings renewed interest in studio revivals of musicals leading to a flood of revisits to earlier works of the musical stage, while inspiring experimentation with the ways in which these recordings may present most successfully the score.
[Show full text]
Topical Weill: News and Events
Volume 14 Number 2 topical Weill Fall 1996 A supplement to the Kurt Weill Newsletter news &news events news &news events Behind the Scenes of Psychology and Passion: Thomas Hampson Talks About Singing Weill “One of the most campy, wonderful, humorous scores I’ve sometimes hard to digest, sometimes unrelenting. Weill’s ever heard,” is how Thomas Hampson describes The music had a rough ride in America, but it takes a tremen- Firebrand of Florence, a work he highlights in his new EMI dous look behind the scenes of psychology and passion.” recording “Kurt Weill on Broadway” (now available in Comparing Weill’s operatic output to Berg’s Wozzeck, Europe and scheduled for U.S. release in Spring 1997). Hampson praises both composers as powerful creative Recorded in London in June of 1994, the new CD fea- forces because they “cut to the quick. Weill’s songs are like tures some of Weill’s lesser-known wide and deep brush paintings of people’s American songs in their original keys lives. His vocal lines are a dream to sing— and orchestrations, including the entire expansive leaps with portamento. There is opening scene of The Firebrand of so much emotion in that kind of move- Florence. During the recording sessions, ment, which is lost when a singer just chas- Hampson recalled having to do a few es pitches and rhythms.” retakes because “Gershwin’s clever Is it appropriate for an opera singer to Firebrand lyrics left us all in stitches.” perform Broadway show tunes? Hampson “This project started with Love Life.
[Show full text]